I first became aware of Saul Williams through his performance as an opening act for Nine Inch Nails.  In 2006, I went to South Carolina to see the “With Teeth Tour” and had my first glimpse of seeing NIN and Saul Williams live. Saul’s music, although difficult to categorize, is more identifiable as rap (NOT contemporary rap, no Souljah Boy here folks).  Unfortunately not all industrial enthusiasts are avid fans of hip-hop or rap; needless to say the audience was displeased. I enjoyed his energetic, adrenaline inducing performance, particularly a song entitled “Black Stacey”.  I also respected the artist for getting onstage and still rapping amid boos and jeers from the crowd.  Thereafter, I became a loyal follower towards all of Saul’s endeavors, musically or theatrically.
            On the “With Teeth Tour”, NIN’s Trent Reznor and Alan Moulder along with Saul Williams began to collaborate and remix songs which eventually progressed into The Inevitable Rise and Liberation of Niggy Stardust.  Following on the coattails of Radiohead, they decided to release the album themselves from Saul’s and NIN’s website for a donation of $5 or $0. This tactic drastically widened the net to expand Saul’s fanbase considering it was heartily promoted on the Nine Inch Nails website. 
            Saul’s esoteric lyrics and general ferocity as a spoken word artist were not at all adjusted for his newfound listeners.  Black History Month, the first track, blasts with deep bass and rhythmic beats. “…I'm tougher than bullets so, baby, pray to your savior I never been shot, but I bet you I'm braver…”  (50 cent reference ::cough:: ) Because of the title, I thought the song was going to be a remake of the Death From Above 1979’s same name single, but instead the song’s theme is more reminiscent of Queen’s, “We Will Rock You” remixed by Public Enemy with backup vocals by Andrew W.K.  It should be dually noted that the influence of Public Enemy is starkly shown in “Tr(n)igger”, which samples P.E.’s  “Welcome to the Terrordome”.  Reznor also performs back-up vocals on six different tracks. 
            “NiggyTardust” sounds like a throwback to the late 80’s keyboard generated drumbeats.  It sounds like a leftover from “Pretty Hate Machine”, but nevertheless its lyrics are the easiest to analyze and actually interpret.  I researched to find out if Reznor performed back-up vocals on “NiggyTardust”, because I imagine, if he did, some of Saul’s listeners might be offended. When you listen to the song, you’ll know what I’m talking about.  In “Raw” the tempo slows and Saul lowers his voice for a 90’s R&B feel for sensual, lusty song.  In “Banged and Blown Through” a steady drumbeat lures over a violin and Saul showcases his natural singing voice:  “Conductor, Conductor I feel the electricity...can you bring out the song in me…”.   In “Skin of a Drum”, Saul returns to his slam poetry commanding tone.  He describes a coming of age narrative about himself, criticizing and questioning all parts of him akin to James Baldwin:   “Deep within, you'll find the attributes of every sunken man. Who must bang his head against the dead each day he tries to stand…” Inevitably, perhaps Saul’s intent, the song forces listeners to take heed and pick apart their own lives.  There’s a remake of U2’s “Sunday Bloody Sunday” and I was already a little bias listening to the song because I am not the biggest U2 fan.  It’s noteworthy, but the chorus sounds forced and drones on like he’s singing through his nostrils; however, the heartrending music video for the song definitely gives the track an additional edge. 
            The loyal fans of Saul will not be disappointed. His lyrics still include topics of black aesthetics, politics, and philosophy and new fans brought on by Reznor will appreciate the surrounding brackish, electronic enthused music behind Saul’s poetry.  I was excited yet weary of the collaboration between them.  Their both strong, autonomous-thinking personalities that I assumed would crash, burn and end up like “Tapeworm”, the supposed joint effort between NIN and frontman Maynard James Keenan from Tool.  However, this album is worth a listen and definitely worth the 5 bucks donation towards a truly creative classic in hip-hop and alternative music.